“…This type of decorative artwork, typically applied to church interiors in the form of painted screens, reredoses, dado rails, organ cases, pulpits, and the interior of roofs, has had little published scientific analysis and what has been done tends to be on earlier objects [14,15], unlike wall paintings of all periods that have been the subject of extensive research [16][17][18]. Major architects engaged on ecclesiastical projects such as Sir Arthur Blomfield, Sir Ninian Comper [19], William Butterfield [20], Sir George Gilbert Scott and sons George and Oldrid, George Frederick Bodley [21], Norman Shaw, Temple Moore, Ewan Christian, William Burges [22], William Caröe, Sir Edwin Lutyens [23], and many others, commissioned a vast amount of such decorative church artwork which is well known for its form and style but very poorly understood in terms of pigment and binder composition, these details usually only coming to light when conservation work is undertaken or to inform conservation, and rarely openly published as individual studies [24][25][26]. Although the analysis in this study has arisen because the organ case involved required conservation, the opportunity has been taken to further our technical knowledge of commissioned artwork of the period.…”